This is an edition of The Wonder Reader, a newsletter in which our editors recommend a set of stories to spark your curiosity and fill you with delight. Sign up here to get it every Saturday morning.Among the many negative stereotypes that exist about older adults is the idea that they’re not capable of change, my colleague Faith Hill noted recently. In fact, many psychologists used to believe that after young adulthood, people tend to settle into their personality.

If you’ve watched a Netflix original in the past few years, you might recognize the comedian Michelle Buteau as the platform’s punchiest voice of reason. At the beginning of the 2019 breakup comedy Someone Great, Buteau’s character delivers a brisk self-esteem boost to the film’s protagonist, whom she encounters as a crying stranger on a subway platform: “Why he won’t try? Look at you with your pretty teeth and shit.

Dr. Dre on the radio, The Matrix on the big screen, The Sopranos on TV: The year 1999 was wonderful for many reasons, including economic ones.That year, the median household income rose to a record level, a watermark that held for nearly two decades. (The average American family was poorer when Donald Trump was running for office than when Bill Clinton left office.) Wages were growing across the board—all kinds of workers were getting consistent raises. Productivity growth was strong.

As my father approached his 90s, the daily stack in his mailbox grew—a dozen appeals for donations some days. He was impossibly frugal with himself: frayed canvas shoes and a tattered windbreaker for all seasons. He abhorred wastefulness. He would put down the phone when solicitors called. But the entreaties for money that flooded his mailbox, including many from firefighter, law-enforcement, and veterans’ funds, typically wound up on his desk.

This is an edition of The Atlantic Daily, a newsletter that guides you through the biggest stories of the day, helps you discover new ideas, and recommends the best in culture. Sign up for it here.After a turbo-charged, months-long marketing campaign, Barbie was finally released in theaters this week. In between dance routines and jokes, the movie invites us to ask questions about feminism and the lines between commerce and art.

I was a child soldier in the California grape strikes, my labors conducted outside the Shattuck Avenue co-op in Berkeley. There I was, maybe 7 or 8 years old, shaking a Folgers coffee can full of coins at the United Farm Workers’ table where my mother was garrisoned two to three afternoons a week. I did most of my work alongside her, but several times an hour I would do what child soldiers have always done: served in a capacity that only a very small person could.

This is an edition of the revamped Books Briefing, our editors’ weekly guide to the best in books. Sign up for it here.I’ve always been curious about what it feels like for an author to see their work translated into another medium. The question seems particularly interesting with a film like Oppenheimer, the biopic directed by Christopher Nolan that opened in theaters this week. It tells the life story of J.

This article contains spoilers for the film Barbie.The Greta Gerwig–directed Barbie is like a Barbie superfan’s imagination run wild. There are elaborately choreographed dance numbers for the dolls. The dialogue pokes easygoing, knowing fun at Mattel’s products.